Jazz Ukulele: Jazz Lessons

Commonly called "Jazz Chords", these more sophisticated, contemporary chord voicings find their way into a wide variety of music forms and styles. This lesson is the first on the series that builds your core foundation for these chords.

The six essential scales are: Blues Major Pentatonic Mixolydian Dorian Aeolian and Ionian From the six essential scales, you can get through a wide variety of traditional and contemporary music. A scale is simply a collection of pitches or notes, not really a "this is a Jazz scale", "this is a Blues" or "this is a Rock scale". It's how a scale is used that really matters not its name.

The Big Six Core Chords is a series of lessons for building your core, essential 4-part chords. These chords commonly called jazz chords, are really just 4-part chords used in a wide range of musical styles. These chords include: Seventh , Major Seventh, Minor Seventh, Half Diminished Seventh or Minor Seven Flat Five, Diminished Seventh, and Augmented Seventh. These six chords form a core set of chords.

Naturally, for Ukuleles, all chords need to be voiced using only the four strings available. You would think that this is limiting, when in actuality it's quite liberating when you learn the makeup of chords. Chords can be categorized into four categories: “Open Position Chords”, “Movable Form Chords”, “4-part - a.k.a. Jazz Chords”, and “Free Form Chords.”

Introductions are a composed or improvised pieces of music that introduce - sets the stage for - a song or composition. Introductions, or intro for short, are used in all types of music. In this lesson, the focus is on introductions in contemporary pop, rock, blues, country, folk and jazz styles.

Wikipedia defines "Jazz" as a musical art form which originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note.

The Blues are at the heart of all American music. It has influenced Country, Rock, Folk, Jazz, Bluegrass and just about every form of American music we listen to today. The Blues - a chord progression, a scale, a feeling. This lesson presents an introduction to the blues progression and a couple of scale position of the pentatonic scale to get you started improvising.

Cut Time is a source of confusion for many musicians. What exactly does it mean and how do you apply it? Here is a guest lesson by internationally renowned jazz guitarist and educator Chuck Anderson.

A cool chord is most likely a Free Form chord. A free form chord typically includes open strings, wide stretches, displaced chord tones and or chord voicings. Plus they just sound cool.

"F# Major" (or the key of F#) is a major scale based on F#, with the pitches F# G# A# B C# D# E#. Its key signature has six sharps: F# C# G# D# A# E#. Its Relative Minor scale is G# Minor. Its Parallel Minor is F# Minor and, its enharmonic equivalent is Gb minor.

"Bb Major" (or the key of Bb) is a major scale based on Bb, with the pitches Bb C D Eb F G A. Its key signature has two flats: Bb Eb. Its Relative Minor scale is G Minor. Its Parallel Minor is Bb Minor. B-flat major is a suitable key for most wind instruments, especially those for which it is their home key, such as clarinets, trumpets, tenor saxophone, soprano saxophone and flutes in B-flat.

"Eb Major" (or the key of Eb) is a major scale based on Eb, with the pitches Eb F G Ab Bb C D. Its key signature has three flats: Bb Eb Ab. Its Relative Minor scale is C Minor. Its Parallel Minor is Eb Minor. E flat major is often associated with bold, heroic music, in part because of Beethoven's usage.

"Ab Major" (or the key of Ab) is a major scale based on Ab, with the pitches Ab Bb C D Eb F G. Its key signature has four flats: Bb Eb Ab Db. Its Relative Minor scale is F Minor. Its Parallel Minor is Ab Minor.

"Db Major" (or the key of Db) is a major scale based on Db, with the pitches Db Eb F Gb Ab Bb C. Its key signature has five flats: Bb Eb Ab Db Gb. Its Relative Minor scale is Bb Minor. Its Parallel Minor is Db Minor.

Taking a movable "F7" chord, you can derive each of the Big Six Core Chords. 7, maj7, m7, m7b5, dim7, and aug7 from that voicing.

Taking a movable "F7" chord, you can derive each of the Big Six Core Chords. 7, maj7, m7, m7b5, dim7, and aug7 from that voicing.

Taking a movable "F7" chord, you can derive each of the Big Six Core Chords. 7, maj7, m7, m7b5, dim7, and aug7 from that voicing.

Taking a movable "F7" chord, you can derive each of the Big Six Core Chords. 7, maj7, m7, m7b5, dim7, and aug7 from that voicing.

Harmonic Analysis is the understanding of the functional sequence of chords. It is the process used to analyze the harmonic structure of a progression, song or composition. This analysis is then used to make scale selections for improvisation and chord substitution. This lesson contains a blank worksheet and several completed examples using standards from the jazz repertoire.

"Modular Phonetic Rhythm" by Chuck Anderson represents a significant advance in the teaching and application of rhythm. Eliminating many inefficient aspects of rhythm education, Modular Phonetic Rhythm streamlines the traditional educational approach, resulting in a reflexive reaction to rhythm. This approach is applicable to all ages and to all styles of music.

After you mastering the six essentials scales below and start to explore more advanced styles of music, especially jazz. There are a few more scales that are needed to cover the broader harmonic palette that a typical jazz tune draws from.

Learn a new Ukulele chord every day of the year. The chord for March 3rd is F7. We are now entering into the so-called “Jazz” chord, world of chords. Technically “Jazz” chords are simply 4-part contemporary chords that find the use in a wide variety of traditional and contemporary music.

The Big Six Core Chords, Level I - F7, four voicings. The F7 is a 1 3 5 b7 of the major scale, based on the root of the chord. For F7 the chord tones are: F A C Eb. These ARE the four F7 chord voicings that are used for deriving other chords. If all else fails when trying to remember a particular chord you can go back to your base seventh chords and go through the chord formula for deriving the chord you need.

The Big Six Core Chords, Level I - Fm7, four voicings. The Fm7 is a 1 b3 5 b7 of the major scale, based on the root of the chord. For Fm7 the chord tones are: F A C Eb.

The Big Six Core Chords, Level I - Fmaj7, four voicings. Fmaj7 is a 1 3 5 7 of the major scale, based on the root of the chord. These are the four Fmaj7 chord voicings that will be used for deriving other major seventh derived chords. There are far too many chord shapes to memorize thousands of shapes.

The Big Six Core Chords, Level I - Fm7b5, four voicings. The Fm7b5 is a 1 b3 b5 b7 of the major scale, based on the root of the chord.

The Big Six Core Chords, Level I - Fdim7, four voicings. Fdim7 is a 1 b3 b5 bb7 of the major scale, based on the root of the chord. These are the four Fdim7 chord voicings that will be used for deriving other chords. There are far too many chord shapes to memorize thousands of shapes.

The Big Six Core Chords, LevelI - Faug7, four voicings. Faug7* is a 1 3 5# b7 of the major scale, based on the root of the chord.

The Big Six Core Chords: "F6". This is the Level II of your core 4-part "Jazz" chords. The F6 is a 1 3 5 6 of the major scale, based on the root of the chord. A major 6th chord can be derived either from a seventh or major seventh chord. From a seventh chord lower the flat seventh one fret. From a major seventh chord lower the natural seventh two frets.

The Big Six Core Chords: "Fm6". This is the Level II of your core 4-part "Jazz" chords. The Fm6 is a 1 b3 5 6 of the major scale, based on the root of the chord. A minor 6th chord can be derived either from a minor seventh or major sixth chord. From a minor seventh chord lower the flat seventh one fret. From a major sixth chord lower the natural third one fret.

Using the jazz standard "All of Me" to explore jazz chords on ukulele.

Using the jazz standard "All of Me" to explore jazz chords on ukulele.

Using the jazz standard "Autumn Leaves" to explore jazz chords on ukulele.

Using the jazz standard "All the Things You Are" to explore jazz chords on ukulele.

Using the jazz standard "The Days of Wine and Roses" to explore jazz chords on ukulele.

Using the jazz standard "There Will Never Be Another You" to explore jazz chords on ukulele.

Using the jazz standard "Back Home in Indiana" to explore jazz chords on ukulele.

Using the jazz standard "Someday My Prince Will Come" to explore jazz chords on ukulele.

Using the jazz standard "Have You Met Miss Jones" to explore jazz chords on ukulele.

Using the jazz standard "Summer Samba" to explore jazz chords on ukulele.

Using the jazz standard "Sweet Georgia Brown" to explore jazz chords on ukulele.

A variation of the previous lessons using the jazz standard "Sweet Georgia Brown" to explore jazz chords on ukulele.

Using the classic Beatles cone by Paul McCartney "Yesterday" to explore jazz chords on ukulele.

Using the jazz standard "It's Only a Paper Moon" to explore jazz chords on ukulele.

Using the jazz standard "Take the A Train" to explore jazz chords on ukulele.

Using the jazz standard "Satin Doll" to explore jazz chords on ukulele. This also a great song for an introduction and exploring the very common, "II V" harmonic cell.

A variation using the jazz standard Satin Doll to explore jazz chords on ukulele.

Based on the open position seventh chords: A7, C7, E7, and G7. These movable seventh forms allow you to transpose the open position seventh chords to any key.

Common Jazz Chord Progressions - there is a lot more common between songs than you might think. This lessons show some common progressions and the jazz standards that use them.

These chords are movable chord forms based on core 4-part seventh chords and triads with duplicated and/or omitted notes.

The Big Six chords include: Seventh 7, Major Seventh, Minor Seventh, Half Diminished Seventh or Minor Seven Flat Five diminished 7 , Diminished Seventh and Augmented Seventh. These six chords form a core set of chords.

In jazz and jazz harmony, the chord progression from IV7 to bVII7 to I has been nicknamed the backdoor progression or the backdoor II-V. This name derives from an assumption that the normal progression to the tonic, the II-V-I turnaround (II-V7 to I, see also authentic cadence) is, by inference, the front door. It can be considered a minor plagal cadence in traditional theory.

The next series of chords that build on the Bix Six Core Chords and form the foundation for ALL your jazz chords include: Major Sixth ( 6 ), Minor Sixth ( m6 ) and Minor-Major Seventh ( mL7 ).

The next series of chords that build on the Bix Six Core Chords and form the foundation for ALL your jazz chords include: Diminished Major Seventh ( dimL7 ) and Augmented Major Seventh ( augL7 ). These chords are rare and used to support a major seventh melody.

Core Chords is a series of lessons for building your 4-part chords. These chords commonly called jazz chords, are really just 4-part chords used in a wide range of musical styles. Beyond basic open position chords, basic movable form chords and a core set of 4-part chords. There are just too many chords shapes too memorize. Learning the principles of how chords are constructed and the ukulele fingerboard are the way to go. Then you can create more advanced chords like 9#11, 7#5-9, 13b5, 7+9 on the fly as needed.

"Core Chords" are a concept that I typically apply to 4-part chords and your more contemporary modern chords. This where a solid foundation of a core set of chords really help in learning the massive amount of chords that are required for play contemporary music or jazz on ukulele or guitar. Not such a task on ukulele with on one four string set of strings to build your 4-part chords vs. the theoretically possible 15 sets available for guitar.

Chuck Anderson wrote a great blog entry about the three words Play, Practice and Theory that send the wrong message to players and the general public.

For all the advantages that the Internet offers and there are many of them, it seems to be having one particularly bad effect.

This is a guest lesson/article by internationally renowned jazz guitarist and educator Chuck Anderson. Normally, we think of fingering as a technical subject. Using a good and efficient fingering makes sense. It should make anything that you play easier and more dependable.

Organizing your “Jazz”, 4-part chords for Ukulele and Guitar.

Bossa Nova is a genre of Brazilian music, which developed and was popularized in the 1950s and 1960s and is today one of the best-known Brazilian music genres abroad. The phrase bossa nova means literally “new trend”. A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially among young musicians and college students. Since its inception, it has remained a vital part of the standard jazz repertoire.

A great deal of modern jazz harmony arises from the modes of the ascending form of the melodic minor scale, also known as the Jazz Melodic Minor Scale. This scale is essentially a diatonic major scale with a lowered third, for example C–D–E♭–F–G–A–B–C. As with any other scale, the modes are derived from playing the scale from different root notes, causing a series of jazz scales to emerge.

The Shuffle Strum has applications in Blues, Jazz, and Country.

The Count Basie ending is one of the most recognizable endings in classic jazz. It is simple, effective and one ending that all gigging jazz musicians must know.

The benefits of being able to play melodies, lick, riffs starting on any finger on any string.

Harmonic Analysis (RMA) Worksheet for the jazz standard: "All The Things You Are".

Fingering is one of the most universal topics. Whether your style is Rock, Blues, Country, Jazz or Classical, these principles will improve your technique, your solos, even your sight reading.

"I Ain't Got Nobody" (sometimes referred to as "I'm So Sad and Lonely" or "I Ain't Got Nobody Much") is a popular song and copyrighted in 1915. It was first recorded by Marion Harris, and became a perennial standard, recorded many times over the following generations, in styles ranging from pop to jazz to country music.